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Click here to subscribeBEN WYVIS-37 YEAR-OLD Distilled 17th June 1965. Distilled and bottled by Ben Wyvis Distillery Company. The final bottling from one of the final five remaining casks of Ben Wyvis. Limited edition, only 200 bottles released from Cask no. 300066. Signed by Master Blender Richard Paterson. Single malt whisky, 70cl, 44% volume.
ROSEBANK-1991 distilled 1st July 1991, bottled 5th April 2006. Bottled by www.thewhiskyexchange.com. Limited edition, outurn of Cask 234 Bottles. Single malt whisky, 70cl, 59% volume. MILROY`S ROSEBANK OVER-13 YEAR-OLD Distilled 1989, bottled 2002. Selected and bottled by Milroy`s of Soho Ltd. Single malt whisky, 70cl, 43% volume. MASTER OF MALT ROSEBANK-7 YEAR-OLD Distilled 1990. Bottled by Master of Malts. Limited edition. Single malt whisky, 70cl, 60.0% volume. 3 Bottles.
Lady Mary Leighton of Loton Park, née Parker (1810-1864)Sketchbook on inside cover inscribed Mary Parker/Sweeney, near Oswestry/ 1824, various pencil sketches and watercolours of landscapes with views of North Wales Watercolour of a Country House and garden with children playing on a swing: A Scrapbook Inscribed in front cover `Mary Leighton/Scraps from her children/Loton Park 1847-50` Pencil sketches signed S L 1847/48/49/50 Watercolours and Pencil sketches including portrait of Earl of Warwick, and General Monk signed B L 1847/50/51/52/53 Pencil sketches signed Chartte Leighton/C Leighton 1847/50/51 Pencil sketches signed F C Leighton 1844A Sketchbook Inscribed in front over `Baldwin Leighton, Loton Park, Shrewsbury/Augst 1846 Watercolour signed MP 1825 Pencil sketch signed ML (Lord Cobham) 1851 Two Watercolours signed ML 1826/46 Various pencil sketches and watercolours signed Baldwin Leighton/BL/B Leighton 1846/47/51/53 Various pencil sketches signed Stanley Leighton and S Leighton1846/47/48/49 Various pencil sketches and watercolours signed FCL/FSL 1846/47/49/51 Various pencil sketches signed CL and C Leighton 1846/48/50A: Sketchbook Inside cover inscribed Mary Parker/1829/ Various sketches in pencil and pen and ink, drawing of Putti after Bartolozzi on tinted paper (some signed MP) Book plates after Cruikshank Ink and sepia watercolours after Dutch Old Master Marine painters Copy after Richter, signed MP 1830, Watercolour view of Mold in Flintshire, Watercolours of landscapes (including one of Jamaica) some signed MP and dated between 1828 and 1829, sheet Arabic writing
Bible [Latin]. Testamenti veteris Biblia Sacra... , 6 parts in 1 vol., Henry Middleton for G.B., 1580-79, each part with separate vign. title, running heads sl. shaved from middle of fourth part to the end of New Testament, worsening towards rear, occ. old ink marginalia, some modern underscoring in red of French text in shoulder notes of NT, minor soiling and light damp staining to early leaves, general title (sl. dust soiled) with two contemp. ownership inscriptions, ‘Thomas Tallis, Sperando spiro, possidendo potior’ and ‘Samuel Stallon, sperando spiro, sperando dispereo’, 19th-c. blind-stamped calf, split along upper joint, spine heavily rubbed, 4to (in 8’s), 213 x 157mm. The first complete Latin bible printed in England. STC 2056.4; Darlow & Moule 6166. Samuel Stallon was a rector of All Saints Church in North Barsham, Norfolk (died 1613) and the signature of Thomas Tallis is not that of the illustrious Elizabethan composer but that of Thomas Tallis, a school master at Holt, Norfolk (died 1640). The auctioneers would like to thank the Norfolk Record Office for their kind assistance and persistance in relation to the correct identification of this Thomas Tallis. (1)
Galilei (Galileo). Mathematical discourses concerning two new sciences relating to mechanicks and local motion, in four dialogues, I. Of the resistance of solids against fraction. II. Of the cause of their coherence. III. Of local motion, viz, equable, and naturally accelerate. IV. Of violent motion, or of projects, by Galileo Galilei, chief philosopher and mathematician to the Grand Duke of Tuscany, with an Appendix concerning the center of gravity of solid bodies, done into English from the Italian, by Tho. Weston, late master, and now publish’d by John Weston, present master, of the Academy of Greenwich, 2nd ed. in English, pub. J. Hooke, 1730, title printed in red and black, woodcut initials, headpieces, num. diags. in text, plus one table, final leaf of adverts., title sl. browned and soiled with old ink algebra notes to margins, long closed tear to leaf s1 with crude gummed label repair to margin, some old ink marginalia and underscoring including some errata corrections then deleted in errata list, old water stain to upper and lower margins with a few purple spots to lower margins of first few leaves (and front endpapers sl. damp frayed), bound with Bardwell (Thomas), The practice of painting and perspective made easy, 1st ed., 1756, imprimatur leaf before title, six eng. plts., signed by author to title verso to guarantee authenticity, a few ink corrections to text (in author’s hand?), a little spotting and soiling and sl. damp staining to plt. margins, partly torn bookplate of Eric Root to front pastedown, contemp. quarter calf over marbled boards, worn and covers det., 4to (250 x 195mm). Widely recognised as ‘the first modern textbook of physics and the foundation of the [modern] science of mechanics’. This second edition in English is realistically the earliest obtainable. The first translation into English by Thomas Salusbury was published in 1665 but nearly all copies were consumed in the Great Fire of London in 1666. (1)
Lots 693 to 697-Mr Dermot McCalmont Mr Dermot McCalmont will always be remembered as the owner of the most astounding two-year-old to grace the Turf, The Tetrach. Born in 1887, he was to inherit most of his fortune from Colonel Harry McCalmont (1861-1902), owner of the Triple Crown winner Isinglass. In his youth, Dermot McCalmont rode over fences and won the Grand Military Gold Cup on his own horse at Sandown Park. The trainer Henry ("Atty") Persse was his cousin and offered him an extraordinary looking blotchy grey colt he had bought at Doncaster at cost price. The youngster-to be named The Tetrrach-was unbeaten in all his seven starts as a juvenile and was winter favourite for the Derby, but injury prevented his racing again. He founded a dynasty for speed at his owner`s Ballylinch Stud in Co. Kilkenny, and was sire and grandsire of Dermot McCalmont`s two winners of the 2000 Guineas. Other good horses campaigned by the Major included Slide On and Piccadilly, both winners of the Irish Derby. Dermot McCalmont was for many years Master of the Kilkenny Hounds. He hunted up until a year before his death. His colours were light blue and scarlet quartered, white cap. The silver-mounted hoof of Major Dermot McCalmont`s mare Ballymacoll, the hinged lid inscribed BALLYMACOLL, 1904-1925, BY HACKLER-BALLYMACARNEY, WINNER OF THREE RACES ON THE FLAT, SEVEN STEEPLECHASES AND ONE HURDLE RACE, SHE WAS ALSO PLACED SECOND TEN TIMES, AND THIRD EIGHT TIMES, IN NEARLY ALL HER RACES SHE WAS RIDDEN BY HER OWNER, MR. D. McCALMONT. Provenance: Sotheby`s auctions at Mount Juliet, Co. Kilkenny, for Mr Victor McCalmont in 1986 & 1987
Album of original drawings watercolours and pri many of the drawings signed including some by Manuel Fernandez Camaro Jacoba and others with flower sketches landscapes architecture portraits and costume sketches 31 watercolours and drawings 30 engraved coloured plates trimmed and heightened with gum arabic many of the sketches and portraits signed visiting card of Lucien Camille Goldschmidt Old Master Painting expert and dealer loosely inserted small oblong folio bound by Salenkaa the Ducal book binder at the Court of Brunswick broad ornate gilt border to a floral design with red green and ochre onlays enclosing multiple thin gilt fillets with ornate corner pieces with name of owner Maria Ramona surmounted with coronet triple gilt fillets serving as dentelles spine flat and gilt to a Romantic design France and Spain [c.1822-48] *** Personal album of Marquesa Maria Ramona de la Cerda y Palafox.
Four hunting coats, comprising: - A gentleman`s black hunting coat with Southdown Hunt buttons (one replaced.) The inside breast pocket has a tailor`s label for E. Tautz and Sons, 485 Oxford Street, London W. with ink inscription `S. Sassoon 24/9/1910` - A gentleman`s black hunting coat with Southdown Hunt buttons. The inside breast pocket has a tailors label for E. Tautz and Sons, 485 Oxford Street, London W. with ink inscription `S.Sassoon 4/2/1931` - A gentleman`s red hunting coat with brass Southdown Hunt buttons - A gentleman`s red point-to-point jacket with brass Southdown Hunt buttons. The inside pocket has a tailors label for Askew and Company Ld, 42 Conduit Street, London W, with ink inscription `N.W.Loder Esq` Norman Loder was educated, like Sassoon, at New Beacon Prep School in Kent and Cambridge University, and they later became close friends. Loder was Master of the Southdown Hunt 1911-1913. Sassoon dedicated his poem `The Old Huntsman` to Loder. Provenance: Siegfried Sassoon and thence by descent to the present owner `But I couldn`t help wondering, as I was being ushered into one of the fitting compartments, just how many guineas my black hunting coat was going to cost.` Memoirs of a Fox-Hunting Man (Faber and Gwyer 1928) `Resplendent in my new red coat and almost too much admired by Aunt Evelyn and Miriam, I went off to the opening meet …` (Ibid)
Italy. A good Italianate scrap album, early 19th century, (watermarked R. Collins 1813), containing original pencil drawings and watercolours, two small Neapolitan gouache paintings, costume and fashion plts., classical and old master engravings, natural history, dried flower specimens, a 17th century manuscript note on the death of Charles I in a neat contemp. hand, portraits and British and Italian topographical views, occ. offsetting and staining, contemp. half morocco, rubbed, frayed and worn, boards near detached, contemp. hinged metal clasps, large 4to. The album contains several hand col. engraved plates from Bartolomeo Pinelli’s ‘Costumi Diversi’, published in Rome in 1822. (1) See page 30 for illustration.
A set of six Regency painted beechwood open armchairs by John Gee, each with a twin hour glass shape and ball back, to downswept and turned arms, with later silk squab cushions to a bell shape cane seat, the floral decorated front rail above turned tapering legs, the seat rails stamped, `J within a G,` with workmen`s mark `I W`. (6) One back rail replaced, old losses and wear. John Gee (fl. 1779-c.1824) chairmaker and turner. In 1779 Gee replaced Thomas Ayliffe as partner to Benjamin Crompton who had been Turner in Ordinairy to George III since 1762. From 1799 Gee is listed in London directories as `Chair-maker, 49 Wardour Street, Soho` and in 1803 he is called `Chair-maker & Turner to His Majesty.` Gee is also included in the list of master cabinet makers attached to Sheraton`s Cabinet Dictionary in 1803. The last directory listing for Gee is 1823-24.
Circa 1770 8 Day Long Case Clock by Edward Courter Ruthin, Silver Chapter Ring & Centre with 31 day engraved inner dial & small secondary date dial with flower engraved decoration, gilt cherub spandrels, the arch top with cut out Old Master Time inscribed "Nothing Can Resist The Scythe of Time" 3/4" dial, brass bob pendulum, the case on plinth base, plain trunk with quadrant inset corners with hood, broken arch pediment & plain columns
William James Blacklock (1816-1858), an oil on canvas, "Blea Tarn and The Langdale Pikes". 17.5 ins x 23.25 ins, signed and dated 1854. . William James Blacklock 1816-1858THE LANGDALE PIKES ABOVE BLEA TARN1854It is no exaggeration to say that William James Blacklock is one of the great landscape painters of the nineteenth century, and perhaps the most remarkable of all of those who devoted themselves to the representation of the Lake District. He is less well known than he should be – the modern ‘rediscovery’ of the artist commenced in 1974 with an insightful article in Country Life by the late Geoffrey Grigson (‘A Painter of the Real Lakeland’, 4 July 1974, pp. 24-26), and was carried forward in a ground-breaking exhibition at Abbott Hall in Kendal, organised by Mary Burkett in 1981 – but on other occasions he has been omitted from landscape surveys, perhaps because of the very individuality of his work which makes them difficult immediately to characterise or readily to place in conjunction with those of his contemporaries. Nonetheless, Blacklock is a most fascinating and rewarding artist, who in the last half-decade or so of his tragically short life painted a small handful of masterpieces which serve as a testament to his deep love and knowledge of Cumberland and the English Lakes.The Blacklock family had been long established in the neighbourhood of Cumwhitton, to the south west of Carlisle, farming there at least since the 1500s. W.J. Blacklock’s father was in fact living in London, where he made his living as a bookseller and publisher, at the time of the painter’s birth, but returned to Cumberland in 1818. The younger Blacklock’s career as an artist commenced when he was apprenticed to the Carlisle engraver and lithographer Charles Thurnham, with whom he later collaborated on a series of prints showing the railway line between Newcastle and Carlisle. W.J. Blacklock enrolled for a period at the Carlisle Academy of Arts, prior to its closure in 1833, working under Matthew Ellis Nutter. In 1836 he returned to London, then aged twenty, living there for the following fourteen years. How he occupied himself at this stage is not known, nor is it clear whether he could rely on the sale of works for a livelihood. Works by him – generally showing north-country landscapes – were exhibited at the Royal Academy and British Institution. Clearly he gained some reputation on the metropolitan artistic scene, as his landscape paintings were commented upon enthusiastically by J.M.W. Turner, David Roberts and John Ruskin. Much concerning Blacklock’s career, and especially the question of his contact with other artists, is a matter of speculation. His name is largely absent from the diaries, correspondence and memoirs of the Pre-Raphaelite circle, the members of which were in any case much younger than him, but Blacklock would certainly have seen early works exhibited by members of the group and their associates. We know that he was in contact with William Bell Scott, headmaster of the Government School of Design in Newcastle, and who was in turn a close friend of Dante Gabriel Rossetti. It was almost certainly by Scott’s introduction or recommendation that Blacklock built up a circle of patrons in the North East. Scott and Rossetti may have hoped to meet Blacklock on the occasion of a walking tour they made together from Newcastle to Carlisle in June 1853. Scott, who like Rossetti was a poet as well as a painter, seems to have recorded a vain attempt to visit the painter in a poem entitled ‘An Artist’s Birthplace’, published in 1854. The verse describes the arrival of two men at the cottage home of a painter who may clearly be recognised as Blacklock: A fit place for an artist to be reared;Not a great Master whose vast unshared toils,Add to the riches of the world, rebuildGod’s house, and clothe with Prophets walls and roof,Defending cities as a pastime – suchWe have not! but the homelier heartier handThat gives us English landscapes year by year.There is his small ancestral home, so gay,With rosery and green wicket. We last metIn London: I’ve heard since he had returnedHomeward less sound in health than when he reached That athlete’s theatre, well termed the graveOf little reputations. Fresh againLet’s hope to find him.The verse corroborates what sparse biographical information we have for the painter (and which derives principally from an article in the Glasgow Evening News, 25 July 1900, entitled ‘An Artist’s Career’ and contributed by Edward Pennington presumably on the basis of information received from the artist’s family, despite forty-two years having passed since his death): the painter had returned to Cumberland because his health was deteriorating, probably as a result of syphilis, but also – according to Scott’s account – because of the professional frustrations and commercial pressures that went with trying to work as an artist in London. In 1850 Blacklock seems to have engaged in a last determined bout of activity as a landscape artist, perhaps fearing that he had not many years remaining to him and wanting to put together a group of works in which his particular artistic principles were to be defined. This small corpus – consisting of views in the Lakes and countryside around Cumwhitton, and all made in a period of about four years – serve as his lasting memorial. Paintings such as Devock Water (Abbott Hall, Kendal), of 1853, and Catsbells and Causey Pike (Tullie House Art Gallery, Carlisle), of 1854, represent timeless images of particular places which speak of the painter’s love for the landscape that he was representing. The present view is of the Langdale Pikes, seen beyond Blea Tarn, and therefore from a vantage-point looking towards the north west, and with the direction of afternoon light from behind the artist’s left shoulder. A shoreline of purple heather and strewn boulders forms the foreground, with a brown-coated fisherman on the left side. E. Lynn Linton, in his book The Lake Country (1864), used an engraving of the same view by W.J. Linton to head his chapter ‘Langdale and the Stake’, describing in his text the mountains seen from this vantage-point at ‘the back of Blea Tarn’: ‘the highest to the right is Harrison Stickle, that to the left Pike o’ Stickle, and the long sweep to the right of Harrison Stickle is Pavey Ark, in the cup or lip of which lies Stickle Tarn’. Harriet Martineau in her 1855 Complete Guide to the English Lakes invoked the place as the scene of one of Wordsworth’s Excursions to dwell upon the Solitary, and also described the remoteness of the location and the ‘very rough road [that] scrambles up from Langdale, by Wall End, to the upland vale where the single farmhouse is, and the tarn’.The atmospheric effect of the painting is beautifully observed, with the forms of the mountain partly suffused in shadow but with other areas brightly lit as cloud shadows sweep over, and with clefts and exposed rock faces recorded with painstaking attention. Blacklock’s particular mastery in the treatment of mountain landscapes depended in great part on his understanding of the constantly fluctuating quality of light, and here especially the scale and structure of the distant ranges are given volumetric expression by the graduated fall of light. Thus the mountain range seems both massive and distant, but at the same times almost tangible and lending itself to close and detailed scrutiny. Martineau commented on a similar optical ambiguity whereby ‘the Langdale Pikes, and their surrounding mountains seem, in some states of the atmosphere, to approach and overshadow the waters [of Windermere]; and in others to retire, and shroud themselves in cloud land’.Blacklock did not work directly from the motif but instead drew landscape sketches in watercolour which later formed the basis of his studio compositions, or perhaps worked largely from memory. He may in addition have used photographs – probably daguerreotypes which in the 1850s were beginning to be made available by commercial photographers – to remind himself of the broad outlines of his chosen subjects (as may be suggested by the way he treats shadows in his paintings, which sometimes seems reminiscent of photographic images). He did not seek the kind of literal transcription of the forms of the landscape that artists influenced by Ruskin attempted in the period, but sought a quintessential representation of topographical type which might be recognised as a timeless record of a hallowed place, treated with an extraordinary intensity of vision. The Langdale Pikes seem to have had a particular hold on the artist’s imagination, as he painted the range on a number of occasions and from different vantage-points. An earlier work showing Blea Tarn and the Langdale Pikes of 1852 is in the collection of a descendant of the artist, while a painting entitled Esthwaite Water and the Langdale Pikes (although in fact showing Elter Water) was commissioned by William Armstrong [later Lord Armstrong, the Newcastle industrialist and arms manufacturer whose house Cragside near Rothbury was built by the architect Richard Norman Shaw] in 1855. Clearly the Lakeland landscape was enormously important to Blacklock. All his exhibited works were of northern settings, and we may be sure that even during the years that he spent in London he will have made frequent visits to Cumberland, and that he believed himself to have as his essential purpose the representation of a beloved North. Analogy may be made between Blacklock and other European artists who like him felt it was their mission to explore and describe a landscape setting which they had known from earliest childhood, feeling such close personal identity with those places as to amount to obsession. His near contemporary Gustave Courbet (1819-1877) never tired of painting landscape and country life subjects set in Ornans in the Jura Mountains of eastern France, and created an extraordinary and indelible imagery of that region. Likewise, Paul Cézanne (1839-1906) painted series of views of the Mont Sainte-Victoire in his native Provence so as to capture the essential identity of a topography that was to him living and imbued with vital and personal associations. These were all painters for whom the intimate knowledge and long contemplation of a specific locality was a vital requirement for an art to be vital and true, and who found themselves in the representation of places with which they had long association, as if the landscape forms, light and air, which were the object of their art, retained some kind of subliminal resonance of the pattern of their own lives.Blacklock’s last extraordinary surge of creativity was sadly short lived. By the time the present work was painted, he was seriously afflicted by symptoms of the disease that would kill him. In the first place, he suffered from an inflammation of the eyes that would in due course make him partially blind. In November 1855, having become increasingly erratic in his patterns of behaviour, he was placed in the Crichton Royal Mental Institution in Dumfries, and where he died on 12 March 1858 as a result of ‘monomania of ambition and general paralysis’. Interestingly, the Crichton hospital, under the direction of Dr William Browne, had recently introduced therapies to attempt to aid their deranged inmates including drawing, as happened also at the Royal Bethlehem Hospital for the Insane in London during the time that Richard Dadd was incarcerated there, so Blacklock was able intermittently to continue at least to draw to the end of his life. A number of landscape sketches made at the Crichton are reproduced in Maureen Park’s book Art in Madness – Dr W.A.F. Browne’s Collection of Patient Art at Crichton Royal Institution, Dumfries, Dumfries, 2010.The Langdale Pikes above Blea Tarn was painted for the artists’ colourman Charles Roberson, probably to a commission and as a pendant to another work of 1854, The Miller’s Homestead (private collection). Whatever professional difficulties Blacklock may have faced in the years that he lived in London, in the 1850s, after his return to Cumwhitton he began to find himself sought after by a small but discriminating circle of patrons. Roberson himself was a significant figure in the establishment of a progressive school of painting in the middle years of the century, because he supplied artists with a range of new and stronger pigments, often derived in their manufacture from industrial processes, and thus aided the move towards more brightly coloured works which was a characteristic of English painting in the period. A degree of rivalry seems to have come about between Blacklock’s would-be patrons, chronicled in the letters that the artist wrote to the Gateshead metallurgist James Leathart (now held as part of the Leathart Papers, University of British Columbia). Roberson’s two paintings are referred to in a letter to Leathart of 2 June 1854, ‘one the same lake as I am going to do for Mr Armstrong – the other a Millers Homestead – the mill looking over a moor & distant hills they are for Mr Roberson the artists colourman’. In September 1855, just weeks before his final incarceration, Blacklock sent off the Lakeland views that he had made for Armstrong and Leathart, and in doing effectively concluded his professional career.Blacklock is an important and intriguing figure who may be regarded both as a pivot between the early nineteenth-century landscape school and the achievements of Romanticism, and the earnest and obsessive innovations of the Pre-Raphaelite landscape school. Perhaps a vital factor in our understanding and appreciation of the particular character of Blacklock’s art is his knowledge of historic schools of painting. Living in London in the late 1830s and 40s he would have had the opportunity to study the works in the National Gallery. It has been suggested that it was the unveiling of works long concealed under layers of discoloured varnish as a result of Charles Eastlake’s cleaning programme of in the mid-1840s that prompted Blacklock to adopt brighter and more luminous colours. A further possibility is that he made a European tour at some point, seeing for himself works of the sixteenth and seventeenth centuries, and also perhaps making contact with working artists in France or Italy. Only the slightest indication survives of Blacklock’s interest in the work of the Old Masters – in a letter to Leathart of 20 September 1854 he looks forward to hearing about the works of art that the latter had seen in the course of a Continental tour. Nonetheless, broad stylistic analogies may be drawn between the landscape paintings of Blacklock and those of other British artists who had visited Europe in their formative years. William Dyce, for example, who had visited Italy in 1825-26 and there made contact with the German Nazarene painters in Rome. Something of the clarity of light and simplicity of expression, along with a particular feeling for colour effects which are peaceful and never strident, that characterises Dyce’s pure landscapes, is also infused into the less well known works of Blacklock, and may perhaps likewise be indebted to a knowledge of European schools of painting.Christopher Newall
Circle of Francesco Bartollozzi RA 1725-1815- Grotesque Heads; after Leonardo Da Vinci, stipple-engravings in sepia, a pair, after the original drawings held at Windsor Royal Library, in matching frames, 10x8cm, Note: In 1791, John Chamberlaine 1745 - 1812 was appointed Keeper of Drawings and Medals to the King. As curator to his Majesty`s Collection, his greatest achievement was to publish engravings and etchings based upon these famous old master drawings. Between March, 1792 and February, 1800, he published eighty-four stipple engravings based upon Holbein`s portrait drawings. All but four of these engravings were created by Francesco Bartolozzi, who held the title of, `Historical Engraver to his Majesty`. In 1796, he initiated another important set of engravings based upon drawings in the Royal Collection, entitled, "Imitations of Original Designs by Leonardo da Vinci". The engravers for this series were Francesco Bartolozzi and his followers. The following year, he began his final set under the title of, "Engravings from the Original Designs of Annibale, Agostino and Ludovico Carracci, in his Majesty`s Collection". In the following years this last set was expanded to include engravings based upon the designs of other old masters, such as, Raphael, Michelangelo, Claude Lorrain, Poussin, Canaletto and others. Such leading engravers as Francesco Bartolozzi, Luigi Schiavonetti, Frederick Christian Lewis, Peltro William Tomkins and others worked upon this project. The engravings for the 1796 "Imitations of Original Designs by Leonardo da Vinci" and the 1797 "Engravings from the Original Designs of Annibale, Agostino and Ludovico Carracci, in his Majesty`s Collection", were both completed in 1812. At this point, John Chamberlaine combined the two sets under the general title of "Original Designs of the Most Celebrated Masters of the Bolognese, Roman Florentine and Venetian Schools".
Johann Elias Haid 1739-1809- Mythical scene with satyrs and goat; circa 1765, mezzotint, after Andrea Casali 1705-1784, good impression, trimmed, laid and backed, 22x33cm: Richard Earlom RA 1739-1809- "Venus and Adonis"; published by John Boydell, 1766, mezzotint with engraving, fine impression, thread margins, good condition with minor defects, together with other old master prints and engravings to include John Whessell 1760-1824, "The Blind Hermit" published 1806, after Stothard; After Richard Cosway RA 1742-1821- "Worldly Instruction"; published 1801 by F caianchettini, Oxford St. London, etching and engraving by P(sic) Conde; John Conde 1767-1794- "Mrs Fitzherbert"; published by J Conde, 1792, London, soft-ground etching, after Richard Cosway RA; Paul Chenay 1808-1906 and others, (a lot) (unframed)
CHARLES DICKENS, 3 ttls: MASTER HUMPHREY’S CLOCK, 1840-41, 1st edn in book form, 3 vols in 1, lacks ttl pge to vol 3, vol 1, old hf cf gt, spine gt in compartments + LITTLE DORRIT, ill H K Browne, 1857, 1st edn in book form, added engrd ttl pge, old hf cf gt, slightly worn + THE PERSONAL HISTORY OF DAVID COPPERFIELD, [1862], old full cf gt, rebkd, orig backstrip re-attached, aem + NEW COMPLETE WORKS OF ROBERT BURNS …… AND THE POETICAL WORKS OF SIR WALTER SCOTT ……, 1867, old hf cf gt worn (4)
A Fine William IV Table Snuffbox, Thomas Edwards, London 1836, rectangular with engine turned sides and cast foliate border, initialled and with presentation inscription to the base Presented to Mrs Thomas Ratcliff by a few Inhabitants of the Hamlet of Ratcliff as a Testimonial of their approval of his Firm, Manly & Independent conduct in the prosecution of Robert Salmon, one of the Agents of --- Morison, the Hygiest who was tried and convicted at the Old Bailey on the 6th April 1836 of the Manslaughter of John McKenzie Master Mariner, & fined £200, 11cm long, 10oz See illustration
Circle of Pieter van Noort (17th century) Portrait of a Woman, half length, wearing a lace collar with a red bow Oil on panel, 72cm by 56cm Sold with a copy of the catalogue from Phillips Marylebone, Old Master sale 19 February 1988, see lot 111; and literature on the artist Ferdinand Bol showing an illustration of a portrait of a woman
* Prints & engravings. A mixed collection of approx. 110 prints, drawings and etchings, mostly 18th & 19th century, including portraits, natural history, genre, old master etchings, topography and original drawings and watercolours and a small collection of 20th century gallery and museum posters, with examples by Sharp, Hogarth, Maglin, Chattock, Skelton, Houbraken and Vertue, various sizes and conditon (approx.110)
Pieter van Bloemen, called Standaart (Antwerp 1657-1720) A military encampment in a wooded landscape with sheep and cattle grazing, and mounted cavalry behind, oil on canvas, Signed and dated 1712 middle right on tent, 67.3 x 83.6 cm (26.5 x 33 in) Provenance: Old Master & British Pictures, Bonhams Knightsbridge, 8th July 1998, Lot 105; Private Collection, London.
A FINE CASED 16 BORE PERCUSSION DOUBLE RIFLE BY JAMES PURDEY, 314 1/2 OXFORD STREET, LONDON, NO. 3202 FOR 1838 with browned twist sighted barrels signed on the flat, rifled with ten grooves and fitted with folding back-sight, engraved case-hardened breech inlaid with a platinum line, platinum plugs, scroll-engraved case-hardened tang, signed detented engraved case-hardened locks decorated with scrolling foliage, fitted with blued safety-catches and engraved case-hardened hammers, figured walnut half-stock, cut with a panel of chequering over the fore-end (areas of minor bruising) and the grip, cast-off butt for left-eyed sighting, fitted with an early cheek pad, probably the original, scroll-engraved steel mounts comprising blued trigger-guard cut with chequering over the rear finial, blued chequered butt-cap, fore-end cap, and barrel bolt escutcheons, engraved case-hardened patch-box-cover, original brass-tipped ramrod, and retaining much original finish throughout: in its original fitted mahogany case lined in green baize (light wear and fading, some compartments detached, the accessory box damaged and incomplete), the lid fitted with brass flush-fitting carrying handle (cracked, scratches and minor chips), and with trade label on the inside (small holes), complete with a number of original accessories including mallet, wad cutter, spru-cutter, bullet starter, brass shot and powder measure and cleaning wad contained in a turned polished bone box, and complete with its leather outer case (one handle missing) 74cm; 29 1/8in barrels Provenance Robert Dillon, 3rd Lord Clonbrock (1807-1893). Literature L. Patrick Unsworth, The Early Purdeys, London 1996, p. 154. Dillon was educated at Eton and Oxford and inherited his large estate at Clonbrock, County Galway at the relatively young age of 19. In addition to being a skilled agriculturalist, a keen gardener and an innovative forester he was a passionate sportsman. He was Master of the Heythrop Hunt, regularly fished for salmon at Castleconnell but his greatest love was shooting. In his late 20`s a guest at one of his shooting parties took a low shot at a woodcock and blinded him in the right eye. However, the accident did not deter him and he ordered a whole series of new guns including the present double rifle. He continued shooting well into old age and, when he had grown too old to go out, he apparently used this rifle to shoot fallow bucks in the park at Clonbrock from the library window. The Purdey records state that this was made for the left eye, 30th July 1838, for £84. The majority of Purdey rifles during this period were supplied cased in mahogany complete with accessories, however the majority of outer covers were regarded as extras.
Eric Clapton A 1996, Fender Stratocaster, 50th Anniversary Issue, Master Built Eric Clapton Signature Model guitar owned and played by Clapton 1997-2004; the headstock bearing the logo FENDER STRATOCASTER, neckplate engraved -EC1- FENDER 50TH ANNIVERSARY, dated under the pickguard 10-15-96, the body in 23 carat gold leaf with clear polyester finish, fitted with gold-plated hardware and three Lace Sensor pickups; and hardshell case with adhesive tape to one end inscribed by Lee Dickson gold leaf 50th Anniv/Fender-Strat #E.C.1 This guitar was used when Clapton joined B.B. King to play Rock Me Baby during the latter's recording session for the album Deuces Wild in 1997. It was the main stage instrument when Clapton joined a one-off fusion jazz super group, 'Legends', formed by Marcus Miller with Joe Sample, Steve Gadd and David Sanborn, to play a fortnight tour of European jazz festivals in July 1997. In addition the guitar made the front page of the world press when Clapton joined Paul McCartney, Elton John, Sting and Mark Knopfler for the Music For Montserrat concert at the Royal Albert Hall, organised by Sir George Martin, on 15th September 1997. On this occasion Clapton used it when playing The Same Old Blues, Layla and Hey Jude with the all-star cast. It went on to serve as the main guitar on the tour of Korea and Japan in October, 1997 and was used as a back-up guitar during Clapton's Pilgrim World Tour, 1997 (2) View on Christie's.com
RICHARDS FRANK: (1876-1961) Pseudonym of Charles Hamilton. English Writer, famous for his Greyfriars School stories featuring Billy Bunter. Two T.Ls.S., Frank Richards, four pages (total), 8vo, Kingsgate-on-Sea, Broadstairs, Kent, 18th June and 28th July 1951, to Geoffrey Cook. In the first letter Richards thanks his correspondent for a circular about Messrs. Bailey and Swinfen and continues to refer to his recent work, `I shall certainly write a Hiker book for the Bunter series. Actually I have just written a Tom Merry Caravan story: though I wouldn`t venture to give a guess at the date of publication, in these uncertain days` as well as mutual friends and post-war life, `The paper shortage now is worse than ever, while costs of production are getting sky high....There is even a proposal to charge fees at the free libraries, in order to keep authors alive! I don`t like that idea: besides, some of them don`t deserve to live!!` In the second letter Richards comments on the health of his house keeper and also asks `Do you ever listen in to "Twenty Questions" on the radio? Last week our fat old friend Bunter was one of the `objects`, and the question-master confessed that he didn`t know whether the author was alive or dead! As I happened to know, I put him wise, and in the programme this week he passed on the happy news to the public. It was rather amusing.` Small pinholes in the upper corner of each letter, not affecting the text or signatures, otherwise VG, 2
CAMPBELL MALCOLM: (1885-1948) British Land & Water Speed Record Holder. T.L.S., M. Campbell, one page, 8vo, Old Bond Street, London, 27th January 1932, to Master James Parker. Campbell thanks his correspondent for his letter and wishes of good luck. Lightly laid down to a page removed from an autograph album. Together with a bold dark fountain pen ink signature (`Malcolm Campbell`) on a second page removed from an autograph album, dated 27th January 1932 in his hand. With a neatly affixed magazine portrait of Campbell in the cockpit of his car. G to VG, 2
Brunfels (Otto) Herbarum vivae eicones first edition of the first part title within allegorical border Strasburg coat of arms both printed in red and black 5 part woodcut border to 3 leaves 86 full-page woodcuts by Hans Weiditz with the blank B4 but without the final blank minor repair to blank margin of first four leaves some minor water-stains generally a nice unsophisticated copy 17th(?) century signature of Miguel Bunillo on title (trimmed) bookplate of William Borrer (1781-1862 Sussex botanist) is possibly added old vellum bit worn ties partly defective invoice from Hammond (1976; £1400) inserted [Adams B2923] folio Strasburg Schott 1530. ***The bibliography of this great book seems somewhat unexplored. The Plesch copy for instance had the misprint Eiconeb on title and index printed in red; this copy has Eicones and index in red; the copy reproduced in Grolier 33a has Eicones and index in black. The second edition of 1532 is completely reset the most noticeable feature being the smaller gothic type used for the captions; why this was introduced is an interesting question. Stevenson in his cataloguing of the 1532 edition [Hunt 30] compared it with the 1530 edition in NY Academy of Medicine ; from which it is clear that there are text variants in the1530 since this copy does not entirely agree with the New York copy. He remarks that the book is “full of bibliographical puzzles which would take many months of research and comparing of copies to solve”. “Hans Weitz was a brilliant and original artist who set new standards of truth and beauty for the printed herbal...these vigorous well-observed drawings...remind us of Durer and much of Weiditz`s work has in fact been falsely attributed at one time or another to that great master or to Burgkmaier. “ -Blunt p. 62. .
JOHN FORD: ACKERMANN 1783-1983 THE BUSINESS OF ART, 1983, orig cl gt, d/w + BEN MAILE: ENTERPRISE ON CANVAS, 1987, 1st edn, orig cl gt, d/w + DAVID EKSERDJIAN: OLD MASTER PAINTINGS FROM THE THYSSEN-BORNEMISZA COLLECTION, Royal Academy of Arts Exhibition Catalogue, March-June 1988, orig wraps, d/w + DOUGLAS MARTIN: THE TELLING LINE, 1989, 1st edn, orig cl gt, d/w (4)
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